Run DMT apparently never met a genre of bass music he didn’t like. On his self-titled LP, out this week via his own 4th Wall imprint, the Austin-based producer explores everything from drum and bass to dubstep to glitch hop and beyond–indeed, nearly every track on the eight-song album incorporates multiple tempos and drum patterns.
But if Run DMT is remembered for only one thing this year, it should be his introduction of bass styles currently missing from most major club settings. Shaman Juice establishes itself as an especially turnt-up trap beat before morphing into a big room electro build, which then unexpectedly drops into some of the grooviest booty bass this side of Tootsie Roll. And Trampoline bounces in a jittery, hyperactive way that’s reminiscent of footwork, but it makes perfect sense when the tempo is cut in half and the 808 hi-hats get to twerking. DJ Sliink and the Jersey Club crew have been flirting with these sounds in the context of EDM for awhile already, but not with the same sort of big-room club mindset with which Run DMT approaches his productions.
All eclecticism aside, dubstep is really the glue that holds all of these beastly, amorphous tunes together. But unlike many of his peers who’ve either abandoned the genre for trap, or else stubbornly clung on to a formula now yielding diminishing returns, Run DMT welcomes all styles of bass music into the fold. The result is an engaging journey filled with lots of unexpected twists and turns. It’s a healthy reminder that a genre is really only as worthwhile as the artists who wield it.